Edge of Darkness
Any film starring the current whipping boy Mel Gibson was going to be on a hiding for nothing. That Edge of Darkness is actually good seems not to matter to those failing to distinguish between his ‘real’ and ‘reel’ life. Perhaps that’s a price fame places on actors as a public’s expectations and standards are placed on their shoulders. In any case Edge of Darkness is a formidable comeback for someone used to being commended and condemned in equal measure.
When his daughter Emma arrives for a visit, Boston detective Tom Craven (Mel Gibson) feels trepidation. Alarmed at her poorly appearance, he insists on taking her to hospital. Leaving his house, they are suddenly attacked by a masked gunman who kills her. Traumatised by this brutal act, Tom launches an investigation into her death. Discovering a link with a nuclear factory, his search leads to a bloody path where deception and death seamlessly blend.
Director Martin Campbell appears to love doing things in twos. Not content with steering the James Bond films twice to massive success, he returns to a story in which he originally made his name. Based on the acclaimed 1985 BBC 6 part mini-series, Campbell uses his gained knowledge in the preceding years to his advantage. In refreshing the material, he has been able to avoid the trap of so many TV to film adaptations. Where some of suffered from a condensed format, Edge of Darkness mark 2 picks the most compelling elements from the earlier serial to turn into a solid action drama.
Whatever one may think of Gibson, he’s a perfect fit as the film’s tortured soul. Only surviving long enough on his rage and grief, his character uses his skills to uncover the murky business dealings of his daughter’s employers. In some ways this is a huge credit to Troy Kennedy Martin’s original script, as it seems more timely now than ever. Issues of environmental hazards and corporate greed are still sadly ongoing, although it’s interesting how Craven uses little of the current technology to catch his foes. Edge of Darkness is very much an old fashioned revenge tale with cracking action beefing up the unrelenting pace.
Whilst missing of the dramatic weight which so defined the mini-series, the film version’s story focus never wavers. As a comeback vehicle for Gibson, Edge of Darkness should bring his fans back from the shadows who may finally forgive him for his many media fuelled sins.
Rating out of 10: 7
Daybreakers
The saying goes ‘if you’ve seen one vampire film, you’ve seen them all’. Whilst not completely true this statement isn’t too far off the mark. The majority have either used the romantic vampire as seen in the Twilight series or the blood-thirsty kind as portrayed by Bela Lugosi. Others such as Daybreakers attempt to deviate from those shackles to present something different. It certainly does that with its semi-heroic vampires basking in oodles of blood and some smattering of ghoulish wit.
In 2019, humankind has been ravaged by plague. Turned into vampires, the populace hunts down the remaining humans for feasting. Unfortunately due to their blood lust their ways have led to a critical shortage. Tasked with creating a substitute, Bromley Marks pharmaceuticals CEO Charles Bromley (Sam Neil) enlists the services of scientist Edward Dalton (Ethan Hawke). Using his skills to save those left instead with the help of vampire killer Elvis (Willem Dafoe), Dalton’s expertise is needed to out-manoeuvre Bromley’s wicked vampiric machinations.
It’s very difficult being original in vampire films although Daybreakers gives it a good try. Using a recent technique in showing blood-suckers as humans rather than spectral phantoms, it brings a more emotive edge to the narrative. This isn’t to imply Daybreakers rivals Jane Austin, but this crucial element gives some sympathy to its characters’ motivations. Even Sam Neil’s sinister role isn’t wholly evil as his actions are driven by familial needs than outright greed. In the end the story revels in its comic strip heroes and villains although the added bonus of some decent acting makes events accessible.
The fangs, stakes and sunlight are all in place, but what the Spierig Brothers do with their direction brings a genuine sense of thumping urgency. Even the action scenes turn into a sweaty fight to the death as each passing day spells everybody’s potential doom. Perhaps its only drawback is in its marketing. Directed, filmed and financed in Australia, Daybreakers is unfortunately presented as an ‘American production’ with the inclusion of American actors masking its origins. Whilst this is fine in showing what the local industry can achieve, it’s a little dis-heartening that a commercially driven enterprise needs some ‘Americanisms’ to gain success.
Notwithstanding its dubious advertising, Daybreakers is an interesting hybrid of action, humour and horror. It isn’t the best of its kind but nor does it foul the nest of its predecessors. With enough to satisfy its target audience, those tired of the whimsical romance of the Twilight films should find much to fiendishly enjoy.
Rating out of 10: 6